Architectural structures and open land can be at odds with each other, especially when that open land is turned into a mall, office building, or subdivision. In the country, though, rural structures–especially old ones with history–always seem to be a part of each other. Meadows, fields and open farmland seem to complement old barns, sheds, and farmhouses that were built on them. And conversely, the landscape also seems a bit more interesting because of these structures. “Maple Hill” 20 x 20
I was recently asked how I plan the palette for a particular piece. The short answer is…I don’t. At least in the sense of thinking about the palette in its entirety. Longer answer is that it’s more of a plan-on-the-fly approach, where one color choice leads to another, and then to another. Thinking about what color works well against another, is the overall palette warm or cool, or (as is most often the case) both. In this piece, and the pastel study done ahead of it, green was the goal. The sky was the starting point, and everything else color-wise just came along after that. “Greenscape” 40 x 30 o/c
Skies are complicated. When clear, they’re pretty simple, but clouds change that, creating textures and patterns dictated by atmospheric conditions, wind, temperature, and time of year. I found this location in Vermont a while ago. It was one of those moments when the cloud cover is clearing, and a blast of sun shines through, casting a spotlight on the landscape. “Break in the Clouds” 24 x 24 o/c.
This piece is the larger canvas done based on the study, “Juniper”, posted several days ago. Studies are usually smaller pieces, often paintings unto themselves, but done with the intent of doing a larger version. That never means the “final” piece will be an exact copy of the study, but guided by it. In this case, “Lone Juniper” is very similar to its study, “Juniper”, but the palette was heightened during the painting process. So while the two pieces are similar, they are each unique. “Lone Juniper” 36 x 36
Late day light in coastal areas is unique. With the ocean offering nothing to interrupt the low sun’s light, shadows and color can vary from day to day, and hour to hour, as the sun sinks, and light passes through the atmosphere’s prism. “Bayscape” 40 x 30
Back in college, I took a few creative writing courses. One of my professors said the key to good fiction writing was to start with something personal and real, whether it was a place, a person or a thing. As you write, he said, change things. Make up things, add things, take things out. Over time, the “story” will be fiction. It will feel real to the reader, but will allow them to bring their own interpretation to what you wrote. I find that’s what happens with coomposition studies. The places are real, but working out a composition by drawing…and changing things…makes the resulting piece more a work of fiction than a literal representation, and lets the viewer interpret it however they want. Charcoal study for “Bayscape”
Not everyone’s a morning person. Sometimes I wish I wasn’t, but I am. There’s something about early morning, being there when the sun rises, and a new day begins. Similar to New Years…where we tend to make resolutions to change, or improve things in our lives…mornings give you that chance, every day. “Start of Day” 60 x 48 o/c.
Early mornight, and early afternoon light is the most beautiful, as the sun is low and it grazes higher ground, creating a contrast of warm and cool. “Grazing Light” 24 x 36 o/c
I’m sure this isn’t unique to our region, but I’ve heard that people who grew up and live in New England are the most reluctant to relocate, be it for work, school, or any other reason. May be true, may not be. But from my own experience, living out of our six-state region for a couple years, getting back to New England couldn’t happen fast enough. The things you grow up with…the things you see, smell, and feel everyday in the place you call home, aren’t the same anywhere else. I’ve tried paintings scenes from very different parts of the country, and it’s hard. I don’t know these areas as deeply as I know what’s around me, and what I grew up with…largely because these new, distant places aren’t home. “Homeland” 30 x 40.
Palettes are never planned, but evolve as the painting moves along. This piece started with the sky color, a mix of warm gray and cadmium yellow, and then all the other colors followed. The warm red of the barn and golden foreground of the meadow became dominant, and resulted in being both the subject and the title. “Crimson and Gold” 36 x 36 o/c.
